PVA’s latest single, ‘Enough’, from their upcoming album No More Like This, opens with a low-slung, grungy guitar riff. Over the course of 3 minutes and 13 seconds, the track builds and builds, adding layers of sound until it reaches its heads-down, shaking climax driven forwards by industrial kicks, distorted synths and Ella Harris’s distinctive, attitude-filled vocals.
Consisting of Harris, Josh Baxter and Louis Satchell, the London-based trio have been flickering in the city’s underground music scene, and with their second album due out early next year via the mighty Ninja Tune, the band look set to explode far beyond it. Blending steely synth lines with a raw, punky edge, their songs are perfect for soundtracking the present’s descent into dystopia.
Yet despite making music th…
PVA’s latest single, ‘Enough’, from their upcoming album No More Like This, opens with a low-slung, grungy guitar riff. Over the course of 3 minutes and 13 seconds, the track builds and builds, adding layers of sound until it reaches its heads-down, shaking climax driven forwards by industrial kicks, distorted synths and Ella Harris’s distinctive, attitude-filled vocals.
Consisting of Harris, Josh Baxter and Louis Satchell, the London-based trio have been flickering in the city’s underground music scene, and with their second album due out early next year via the mighty Ninja Tune, the band look set to explode far beyond it. Blending steely synth lines with a raw, punky edge, their songs are perfect for soundtracking the present’s descent into dystopia.
Yet despite making music that’s largely electronic led, tuned both for moving dancefloors and introspective solo headphone sessions, what makes PVA’s sound so alluring is an underlying organic quality. We wanted to pinpoint exactly that, so the band invited us into their homes for Analogue Appreciation – our series celebrating the power of physical culture in an ever more online, digital world. See their picks below.
Ella’s negatives collection
I’ve been shooting film photography since I was 16. It’s a practice that has stayed with me consistently for 11 years. When I came into music, I was 17 and used photography as a way to feel brave and powerful in these new, wonderful, and surreal environments across grassroots venues in London. It was my weapon of assimilation! Shooting gigs at grassroots venues, I fell in love with live music and performance and was so enthralled by the idea of it. I love my negative collection, as it’s a record of this — from early college squat gigs to our own US headline tour. As is typical of me, I’ve totally lost track and order, and I’m getting close to finding someone to help me archive it.
Ella’s wildflower seeds
Every city needs more wildflowers. I love watching videos of people sprinkling them in really corporate places around London. It makes me feel so hopeful.
Lou’s Trinkets
Recently, I was up at an antiques market in Battlesbridge, Essex. I was beside myself to find a toy that used to dangle over the CRT in my grandparent’s living room.
From early on, I remember being obsessed with these trinkets that would decorate the walls and furniture of their bungalow. There were farm animals, tiny vehicles and cannons, plastic figurines, and miniature portraits. Most of these peculiar objects, however, were everyday household items, only borrower-sized and made in brass or pewter.
I’ve since amassed my own little display of toys that I cherish like a proud kid.
**Read next: **Analogue Appreciation: lullahush
Lou’s Records
When on tour, I’m more than happy to spend a couple hours rummaging through the bargain bins of a local record store. Streaming offers us only a glimpse into the cosmic world of recorded sound, and I think we have a duty to go searching. I’m big into collecting records I know I love but when some unknown catches my eye, it’s straight in the bag.
My first-ever record – a gift from my dad – was ‘Glorious Fool’ by John Martyn. I’ll never forget being surprised by the Bee Gees-esque opener of ‘Couldn’t Love You More’ — only to realise I’d of course been playing it at 45 speed.
This naivety to the format has just come back to haunt me when I nearly delayed the release of our forthcoming LP, due to the suspect speedy test pressing I was examining. All cool ‘n that, having a completely unique experience of music, but remember to change your rubber belts people.
Lou’s Bowl of Change
Let’s not forget about all the small businesses, workers in hospitality and homeless people who still rely on a little extra help. CASH IS KING!
**Josh’s Mixing Desk **
This is a DDA Interface, the same desk that we used to record our new album. It was one of the first times I really got to spend time using an analogue desk and being very hands on. It’s really fun making music with something that’s limited and also tactile, something that you can push to get some grit out of. It’s an old desk from the ’90s and has allowed me to engage with music in a different way from a computer, sometimes being more subtle sometimes being more extreme.
No More Like This*** by PVA is out January 23, 2026 via Ninja Tune.***
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